Industry Talk: Shifting European distribution landscape and future audiences

On November 20, Industry Talk: Shifting European Distribution Landscape and Future Audiences delved into these changes, offering insights into the evolving landscape of European film distribution and strategies for engaging audiences. The event was hosted by REACH'M, a collaboration between virtual cinema innovators Picl and Medialoc, supported by Creative Europe Media NL. The discussion, moderated by Michael Gubbins (Sampomedia), featured a panel of speakers, including Marynia Gierat (director, Kino Pod Baranami), Sarah Mosses (founder & CEO, Together Films), Marc Smit (co-CEO, Cinéart), Greet Stevens (business director & digitalization, MOOOV), Anke van Diejen and Noortje van de Sande (CEO, Picl), and Maria-Silvia Gatta (European Commission).

Before diving into the discussion about the evolving film landscape, Gubbins emphasized the need to frame the conversation around present audiences, rather than future ones. “This is about the realities of today,” Gubbins said. “When discussing audience behavior, we aim to move away from the idea of replacement—the notion that streaming is a new world replacing the old world of cinema.”

The virtual cinema platform Picl, which is said to be one of Europe’s first hybrid distribution platforms, was launched in 2021. In its approach, it exemplifies a collaborative philosophy, working with 39 cinemas in the Netherlands and four in Belgium. “We aim to blend the cinema experience with online streaming,” said Van Diejen of Picl during the panel discussion. The platform manages legal rights, marketing, and technological infrastructure while working with cinemas hand-in-hand to present curated content to audiences. The key, as Van de Sande remarked, is that the model is not competitive. “Cinemas are directly engaged, so there’s no competition. Whether people visit the cinema or watch at home, cinemas still receive a part of the revenue. [...]. “The hybrid approach isn’t just adding on—it’s about rethinking your model,” clarified Van de Sande.

In today’s landscape, the hybrid models are a game-changer for both filmmakers and audiences. However, according to Smit, the co-CEO of the independent Benelux film distributor Cinéart, “it’s been more of an evolution than revolution,” with current trends being “fruits of a longer shift.” Hybrid distribution, particularly in markets like the Netherlands, allows for more flexibility with “post-chronology” approaches. “Theatrical releases remain the main moment,” Smit explained, but they are complemented by varied strategies for engagement during and after the initial window. In contrast, countries like France and Poland have stricter distribution windows, which shape the industry differently.

As the director of Kino Pod Baranami in Krakow, Gierat stressed the importance of curation, community engagement, and adapting to change. “We pick films we think are worth seeing and present them to audiences who trust our choices” as cultural curators, Gierat said. However, in order for a cinema thrive, “it has to work much harder than than before.” It is no longer just about a singular offering of programming and screening films. Assorted film-related events also help create “a social place,” where audiences form deeper connections with the cinema and one another. When COVID hit, prompting cinemas to shut down, Kino Pod Baranami launched Poland’s inaugural cinema-owned VOD platform, E-Kino Pod Baranami, which allowed the cinema to remain connected with audiences during the lockdown. Today, the primary focus remains on the physical cinema, with the VOD platform serving as a complement by offering films for rent after their theatrical run. Targeting youths, in particular teenagers—whom Gierat referred to as “our future audience”—remains a challenge that Kino Pod Baranami tackles head-on, including through its Young Ambassadors of Our Cinema program.

Mosses, the founder and CEO of Together Films, a London/NYC-based innovative marketing and sales company, discussed the company's dual approach to film distribution and campaign planning, which harnesses hybrid models as a powerful tool to advance social justice while achieving commercial objectives. The key is employing data-driven strategies to drive impactful social justice campaigns and deliver measurable results. One of the standout campaigns that Mosses highlighted at the panel was Maisie Crow and Abbie Perrault’s Zurawski v Texas, which zeroes in on a group of women banding together after being denied abortions in the US. The film took an unconventional route to audiences, including through a collaboration with the popular dating app Bumble, which financed a pre-election theatrical rollout.

Among other examples Mosses highlighted was Your Fat Friend by Jeanie Finlay about a blogger, Aubrey Gordon, who writes about the realities of living as a self-described “very fat person.” Together Films supported Finlay in producing a virtual watch party during the Thanksgiving weekend, and it was sold out in four hours, covering the film's entire UK tour. As Mosses explained, this approach focused on understanding Finlay’s audience’s needs and engaging with them on their terms. Accessibility was an important issue, as many members of the community felt excluded from physical spaces, and Finlay was deeply committed to addressing these challenges by actively questioning the cinemas about the size of their seats and the presence of armrests. Aside from the evident benefits of such hybrid models, Mosses also brought forth broader challenges, as the film industry still lacks the language to fully recognize and celebrate the opportunities presented by online viewership. “We cannot [transition] to a truly hybrid industry until we acknowledge online viewership as an integral part of [the ecosystem],” the CEO of Together Films said, adding that this shift requires redefining success and getting past the emphasis on box office opening weekend numbers.

Gatta of the European Commission rounded out the discussion, echoing the argument that COVID had accelerated existing trends, driving innovation in cinema-going experiences and audience engagement outside traditional cinemas. During the pandemic, the institution collaborated with European cinemas, distributors, and platforms to investigate new ways of connecting with audiences beyond the cinema’s four walls. “We must continue meeting audiences where they are—both physically and digitally—to ensure equal access to culture,” she remarked. Charting the path ahead, Gatta also highlighted the urgency of addressing “cinema deserts” in Europe—regions lacking cultural infrastructure or cinemas—through innovative, technology-driven solutions and enhanced cooperation on data sharing and analysis.